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angemediaFirst, a minor bit - have three Neo Angelique song translations from Tasogare no Kishi: Hyuga's "Tsukibae no Yasouka" (OK if a bit flatly repetitive), Nyx's "Hidamari no Pureryuudo" (blah), and J.D.'s "Kimi ga Iru Kono Mune no Rakuen" (utterly heartbreaking if you extrapolate the situation).
Secondly, all this recent spate of activity needs is a Poll of Randomness to be complete. Their undisputed mistress is sadly AWOL, however, so I can only offer an essay question. I got to thinking recently: what qualities define the songs of each character? What makes a Randy song a Randy song, for instance, or a Charlie one a Charlie? Clearly, this matter demands an exhaustive dissertation.
Julious: My go-to answer here is "French & OoC sluttiness," but there's also a pronounced...lounge quality to much of his oeuvre - the cooing female chorus, the synth, the softish quality of his voice... I know Shou Hayami puts more of an emphasis on his singing career than other seiyuu; I don't know if Hayami's personal style has any influence there. The approach seems straightforward in the Julious mold - you want a love ballad, you got one - but the style can seem ever-so-slightly...cheesy (forgive me), at least to my ears. The song most genuinely reflective of Julious's character that comes to my mind, oddly, is Soleil Levant, which bucks these trends.
Clavis: As expected, Clavis's singing style changes with his seiyuu. Shiozawa says on the White Dream free talk that he almost didn't take the job because it required him to sing, but perhaps this was for the best, as this reluctance is incorporated his Clavis's style: detached speak-singing that ends up song regardless, as if Clavis forgets himself. It's very in-character. Tanaka, however, lets himself get wrapped up in the music. His Clavis starts out emotional, a choice of which I'm not as fond. Tanaka's songs are soft and delicate but, oddly, relatively (relatively) fast-paced, and there can be a yearning, also Francisesque emo quality to his voice ("Home Green Home"). For both seiyuu, the background music is relatively quiet, with simple and understated instrumentation, but usually has a strong rhythm to carry the song given Clavis's restrained singing style.
(Oddly, "Promise of a Thousand Years" seems almost a Shiozawa song, with the subdued, "removed" quality and the speak-singing. I wonder if it was originally composed for Shiozawa - the Twin Collections weren't long after his death, were they?)
Luva: Happy, sunny songs that inspire you to sing along. Of all the fellas, Luva has the strongest, most readily indentifiable style, I think. (The buoyant sing-along style is so strong it still holds even if the lyrics themselves are depressing - "Sorayoubi," "Saudade.")
Oscar: Very self-confident in a graceful way and very dynamic (Glamorous Venus; Force of Passion, which is a duet but very Oscar). It took a while to get him in that mold (they really don't know what to do with him in those early songs), but once they found his strength, they clearly recognized it. (That said, All Night? All Right! and his Twin Collection ballad are two very Oscar songs that fulfill the first criterion but not the second.)
(ETA: I forgot that Oscar has an alternate style, represented by "Zutto Hanasanai" and "Ai to shika Yobenai", that's so traditionally in the crooning love-song genre it's almost a parody of it.)
Olivie: Olivie has an interesting trend: unlike the others, he frequently sings either about love, not really as a lover ("Yume wa Chansu o Tsurete Kuru"), or about another subject entirely ("Gold Rush (21st Century's)"). This might be due to discomfort some gamers have in getting in a LoveLove situation with Olivie (I remember Koyasu Takehito one time asking gamers to try Olivie's LoveLove endings for once, even though he knew they didn't usually, because he put a lot of effort into them). Olivie's usual milieu is front-faced, extroverted rock with a good beat and often (but not always) a good pace. There's also sometimes an overtly feminine element to his songs (the sultriness of "Mikan no Sereneido"; "Jerashii de Nemurenai," jealousy being a stereotypically feminine trait).
Lumiale: Unsurprisingly, very delicate, whether he's singing as a solo performer ("Mizu no Aria"), in a seductive mode ("Gekkouyoku"), or even in a sunny pop song ("Shiawase no Tapestry," which is happy and poppy but, if you listen, not forceful).
Randy: Randy has a small array of musical styles - always, though, youthful, upbeat, moderately-paced and moderately dynamic. His true trademark, though, is his voice, its bright and shining quality, which the song should put through a bit of gymnastics yet allow to soar. He frequently sings of hope and promises, and other transcendent aspects of young yet enduring love. He and Luva have the strongest personal styles.
Zephel: Zephel rarely tries straight-up J-pop. He's notable for his experimentation in styles unusual for chara songs - blues ("Clumsy Love"), Britpop ("Shikai Zero kara no Dasshutsu"), concert rock ("Da-Da-Da-Dynamic Diamond"). When he does toward more traditional rock, there's always a sassy slanginess to it, a marked bratty aggressiveness (perhaps most notable in the weird "Lovesick").
Marcel: He's upbeat and sunny, but there's a bit of Lumi's delicateness to him. His concept of love is very innocent, even though he sometimes gently aspires to a slightly more mature love (not that way).
Leonard: I was going to say, "well, I haven't listened to many Leonard songs," but I find that's not true - I've heard "Jiyuu ga Subete," "Everyday Everynight," and "Midnight Shuffle," and I'm struggling to identify a common thread. They naturally share a tendency to be about off-the-cuff hookups instead of *~TRUE LOVE~*. Both "Midnight Shuffle" and "Everyday Everynight" call back to Leonard's bartender roots, but that's not a style. I only think I haven't listened to much from him because he really has no style.
While we're at it, Leonard's a strange character, isn't he? Cosplay jokes aside, he really doesn't fit the franchise. All the other guys, you sense, would really devoted be to their partner and are some sort of romantic at heart. Leonard, he really just doesn't give a shit. And see, there we go - I try to avoid using that word in this comm and substituted "damn" at first, but no, that didn't seem to fit. He seems too...crude? worldly? I dunno; the others have something that he doesn't.
Wow, that was a derail. Sorry. I don't have it in for Leonard; the thoughts just came to mind as I was analyzing. Any Leonard fans reading are welcome to tell me to go stuff it.
Francis: Seiyuu singing issues sidetrack diagnosis, but if pressed, I'd say soft yet swelling emotion in a lite-pop/easy listening mold. I haven't heard "Balsamic Moon no Maryoku," though, and, again, like Leonard, he wasn't given much time to carve out a niche.
Heuye: Like Randy, with lots of pep and vigor, but with more an emphasis on boyish confusion or enthusiasm about love instead of the transcendent promises.
Victor: I haven't heard many Victor solos. He seems to favor soft rock with a hard beat and electric guitar at the forefront. His songs are positive and forward-looking, with Victor acting almost more in a parental role than that of a lover, encouraging his partner to believe in herself.
Tinka: If pressed, I'd say he's musically a mix of Marcel and Randy. He has Marcel's energy, but it's tempered with Randy's sense of responsibility toward his lover. He's not as innocent as Marcel, but not as confident or aggressive as Randy. It might be me, but the music tends to draw more attention to itself in Timka's songs, either in instrumentation ("Shinin' Star") or aggressiveness ("Esperanto"). He sticks strongly to pop.
Sei-Lan: Unsurprisingly, Sei-Lan's approach to his songs is off-kilter; being self-consciously...well, "artsy" is really the only word for it - takes precedent over elements like melody, beat (there usually is no beat, save for "Secret Dream," where he's almost signing at cross-purposes to it), catchiness, or any attempt to engage the listener. It's almost the opposite of Luva's style, actually.
In Sei-Lan's songs, love is treated almost as an abstract idea, be it an artistic experience ("Maboroshi no Chou"), an intriguing lark to pursue for the night ("Mystic Night"), or the latest enrapturing chapter in Sei-Lan's personal bildungsroman ("Secret Dream," which is about a break-up, but is nigh-completely about ~*Sei-Lan's*~ internal drama that his lover is almost beside the point). Come to think of it, this is also the opposite of Luva's approach, where love is something to get happily swept away by, and not just for the lovers - for the audience, too, to the point of singing along.
Ernst: The nominal style of Ernst's songs ranges can range from almost sci-fi-like ("Ijigen yori") to lushly, almost self-parodically romantic ("Answer"), but one element marks them indelibly as Ernst's: a big, powerful, soaring voice that's superbly controlled. (Ernst songs should have some degree of dynanism to show this off.) He seems to be to the rockish-J-pop-ballad well often.
Charlie: Like Charlie himself, outgoing but not aggressive - just friendly. He's frequently singing to cheer up or encourage his lover. His vocal and song style is notably smooth (I'm thinking "Oputimisuto wa Kiseki o Okosu" is an exception, but that song was so bad I've blocked it from my mind too well to recall) and confident, with finessed, crooning vocals at certain points, and often has a certain big-city, kinda-sorta sophisticated sound to it (most audible in "Commitment"), if that makes any sense.
Mel: I haven't heard any kid Mel solo songs, and I'm reluctant to draw a conclusion from the two adult Mel solos I have heard ("Sunaarashi" and the "Kisu Kisu Kisu" song). From those, I'd say that older Mel is like Marcel with a slight playful, cutesy aggressiveness and a bit of Luva's sing-along quality (well, "Sunaarashi" isn't really a sing-along tune, but it does have a catchy rhythm). A little bit of self-doubt creeps into his songs, too, though that might be me overemphasizing the first part of his Twin Collection video.
Arios: Key to any Arios song is a sense of drama. Excuse me, ~*DRAMA*~. Also ~*DESTINY*~ and other sweeping concepts beyond the scope of individual lives. There's also a sense of love that's doomed or tainted by sin (Arios's, his lover's, a third party's) to/for which Arios is nevertheless drawn/yearns/laments and attempts to defy fate to realize. Arios is usually rocking fast-paced, guitar-based rock with a good beat that nevertheless let his voice take center stage, but not always.
What say you all?
Secondly, all this recent spate of activity needs is a Poll of Randomness to be complete. Their undisputed mistress is sadly AWOL, however, so I can only offer an essay question. I got to thinking recently: what qualities define the songs of each character? What makes a Randy song a Randy song, for instance, or a Charlie one a Charlie? Clearly, this matter demands an exhaustive dissertation.
Julious: My go-to answer here is "French & OoC sluttiness," but there's also a pronounced...lounge quality to much of his oeuvre - the cooing female chorus, the synth, the softish quality of his voice... I know Shou Hayami puts more of an emphasis on his singing career than other seiyuu; I don't know if Hayami's personal style has any influence there. The approach seems straightforward in the Julious mold - you want a love ballad, you got one - but the style can seem ever-so-slightly...cheesy (forgive me), at least to my ears. The song most genuinely reflective of Julious's character that comes to my mind, oddly, is Soleil Levant, which bucks these trends.
Clavis: As expected, Clavis's singing style changes with his seiyuu. Shiozawa says on the White Dream free talk that he almost didn't take the job because it required him to sing, but perhaps this was for the best, as this reluctance is incorporated his Clavis's style: detached speak-singing that ends up song regardless, as if Clavis forgets himself. It's very in-character. Tanaka, however, lets himself get wrapped up in the music. His Clavis starts out emotional, a choice of which I'm not as fond. Tanaka's songs are soft and delicate but, oddly, relatively (relatively) fast-paced, and there can be a yearning, also Francisesque emo quality to his voice ("Home Green Home"). For both seiyuu, the background music is relatively quiet, with simple and understated instrumentation, but usually has a strong rhythm to carry the song given Clavis's restrained singing style.
(Oddly, "Promise of a Thousand Years" seems almost a Shiozawa song, with the subdued, "removed" quality and the speak-singing. I wonder if it was originally composed for Shiozawa - the Twin Collections weren't long after his death, were they?)
Luva: Happy, sunny songs that inspire you to sing along. Of all the fellas, Luva has the strongest, most readily indentifiable style, I think. (The buoyant sing-along style is so strong it still holds even if the lyrics themselves are depressing - "Sorayoubi," "Saudade.")
Oscar: Very self-confident in a graceful way and very dynamic (Glamorous Venus; Force of Passion, which is a duet but very Oscar). It took a while to get him in that mold (they really don't know what to do with him in those early songs), but once they found his strength, they clearly recognized it. (That said, All Night? All Right! and his Twin Collection ballad are two very Oscar songs that fulfill the first criterion but not the second.)
(ETA: I forgot that Oscar has an alternate style, represented by "Zutto Hanasanai" and "Ai to shika Yobenai", that's so traditionally in the crooning love-song genre it's almost a parody of it.)
Olivie: Olivie has an interesting trend: unlike the others, he frequently sings either about love, not really as a lover ("Yume wa Chansu o Tsurete Kuru"), or about another subject entirely ("Gold Rush (21st Century's)"). This might be due to discomfort some gamers have in getting in a LoveLove situation with Olivie (I remember Koyasu Takehito one time asking gamers to try Olivie's LoveLove endings for once, even though he knew they didn't usually, because he put a lot of effort into them). Olivie's usual milieu is front-faced, extroverted rock with a good beat and often (but not always) a good pace. There's also sometimes an overtly feminine element to his songs (the sultriness of "Mikan no Sereneido"; "Jerashii de Nemurenai," jealousy being a stereotypically feminine trait).
Lumiale: Unsurprisingly, very delicate, whether he's singing as a solo performer ("Mizu no Aria"), in a seductive mode ("Gekkouyoku"), or even in a sunny pop song ("Shiawase no Tapestry," which is happy and poppy but, if you listen, not forceful).
Randy: Randy has a small array of musical styles - always, though, youthful, upbeat, moderately-paced and moderately dynamic. His true trademark, though, is his voice, its bright and shining quality, which the song should put through a bit of gymnastics yet allow to soar. He frequently sings of hope and promises, and other transcendent aspects of young yet enduring love. He and Luva have the strongest personal styles.
Zephel: Zephel rarely tries straight-up J-pop. He's notable for his experimentation in styles unusual for chara songs - blues ("Clumsy Love"), Britpop ("Shikai Zero kara no Dasshutsu"), concert rock ("Da-Da-Da-Dynamic Diamond"). When he does toward more traditional rock, there's always a sassy slanginess to it, a marked bratty aggressiveness (perhaps most notable in the weird "Lovesick").
Marcel: He's upbeat and sunny, but there's a bit of Lumi's delicateness to him. His concept of love is very innocent, even though he sometimes gently aspires to a slightly more mature love (not that way).
Leonard: I was going to say, "well, I haven't listened to many Leonard songs," but I find that's not true - I've heard "Jiyuu ga Subete," "Everyday Everynight," and "Midnight Shuffle," and I'm struggling to identify a common thread. They naturally share a tendency to be about off-the-cuff hookups instead of *~TRUE LOVE~*. Both "Midnight Shuffle" and "Everyday Everynight" call back to Leonard's bartender roots, but that's not a style. I only think I haven't listened to much from him because he really has no style.
While we're at it, Leonard's a strange character, isn't he? Cosplay jokes aside, he really doesn't fit the franchise. All the other guys, you sense, would really devoted be to their partner and are some sort of romantic at heart. Leonard, he really just doesn't give a shit. And see, there we go - I try to avoid using that word in this comm and substituted "damn" at first, but no, that didn't seem to fit. He seems too...crude? worldly? I dunno; the others have something that he doesn't.
Wow, that was a derail. Sorry. I don't have it in for Leonard; the thoughts just came to mind as I was analyzing. Any Leonard fans reading are welcome to tell me to go stuff it.
Francis: Seiyuu singing issues sidetrack diagnosis, but if pressed, I'd say soft yet swelling emotion in a lite-pop/easy listening mold. I haven't heard "Balsamic Moon no Maryoku," though, and, again, like Leonard, he wasn't given much time to carve out a niche.
Heuye: Like Randy, with lots of pep and vigor, but with more an emphasis on boyish confusion or enthusiasm about love instead of the transcendent promises.
Victor: I haven't heard many Victor solos. He seems to favor soft rock with a hard beat and electric guitar at the forefront. His songs are positive and forward-looking, with Victor acting almost more in a parental role than that of a lover, encouraging his partner to believe in herself.
Tinka: If pressed, I'd say he's musically a mix of Marcel and Randy. He has Marcel's energy, but it's tempered with Randy's sense of responsibility toward his lover. He's not as innocent as Marcel, but not as confident or aggressive as Randy. It might be me, but the music tends to draw more attention to itself in Timka's songs, either in instrumentation ("Shinin' Star") or aggressiveness ("Esperanto"). He sticks strongly to pop.
Sei-Lan: Unsurprisingly, Sei-Lan's approach to his songs is off-kilter; being self-consciously...well, "artsy" is really the only word for it - takes precedent over elements like melody, beat (there usually is no beat, save for "Secret Dream," where he's almost signing at cross-purposes to it), catchiness, or any attempt to engage the listener. It's almost the opposite of Luva's style, actually.
In Sei-Lan's songs, love is treated almost as an abstract idea, be it an artistic experience ("Maboroshi no Chou"), an intriguing lark to pursue for the night ("Mystic Night"), or the latest enrapturing chapter in Sei-Lan's personal bildungsroman ("Secret Dream," which is about a break-up, but is nigh-completely about ~*Sei-Lan's*~ internal drama that his lover is almost beside the point). Come to think of it, this is also the opposite of Luva's approach, where love is something to get happily swept away by, and not just for the lovers - for the audience, too, to the point of singing along.
Ernst: The nominal style of Ernst's songs ranges can range from almost sci-fi-like ("Ijigen yori") to lushly, almost self-parodically romantic ("Answer"), but one element marks them indelibly as Ernst's: a big, powerful, soaring voice that's superbly controlled. (Ernst songs should have some degree of dynanism to show this off.) He seems to be to the rockish-J-pop-ballad well often.
Charlie: Like Charlie himself, outgoing but not aggressive - just friendly. He's frequently singing to cheer up or encourage his lover. His vocal and song style is notably smooth (I'm thinking "Oputimisuto wa Kiseki o Okosu" is an exception, but that song was so bad I've blocked it from my mind too well to recall) and confident, with finessed, crooning vocals at certain points, and often has a certain big-city, kinda-sorta sophisticated sound to it (most audible in "Commitment"), if that makes any sense.
Mel: I haven't heard any kid Mel solo songs, and I'm reluctant to draw a conclusion from the two adult Mel solos I have heard ("Sunaarashi" and the "Kisu Kisu Kisu" song). From those, I'd say that older Mel is like Marcel with a slight playful, cutesy aggressiveness and a bit of Luva's sing-along quality (well, "Sunaarashi" isn't really a sing-along tune, but it does have a catchy rhythm). A little bit of self-doubt creeps into his songs, too, though that might be me overemphasizing the first part of his Twin Collection video.
Arios: Key to any Arios song is a sense of drama. Excuse me, ~*DRAMA*~. Also ~*DESTINY*~ and other sweeping concepts beyond the scope of individual lives. There's also a sense of love that's doomed or tainted by sin (Arios's, his lover's, a third party's) to/for which Arios is nevertheless drawn/yearns/laments and attempts to defy fate to realize. Arios is usually rocking fast-paced, guitar-based rock with a good beat that nevertheless let his voice take center stage, but not always.
What say you all?
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Date: 2011-05-19 12:33 am (UTC)And Luva's "Sorayoubi" is SO unbelievably easy to get stuck in my head. One of my absolute faves of all the songs (right up there with "Jealousy de Nemurenai" and a few others).
Speaking of "Jealousy...", I feel like all the characters have at least one oddball kind of song, though; that one being Olivie's as it's so much more, um, eclectic and mature than the others of his? In that song I see him in my mind as more of a serious adult reflecting upon his life as opposed to his usual upbeat rock songs. (And also see him NOW in a bubble bath humming it to himself thanks to Angelique OVA 2. CURSES.)
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Date: 2011-05-20 03:03 pm (UTC)That's an interesting theory there considering the "one oddball song" idea. What would it be for each character? "Soleil Levant" for Julious for aforementioned reasons; perhaps "Home Green Home" for Clavis, given its very overt emotion. I'd choose "Simple Dimple Smile" for Randy, just because of how subdued and...rote it is compared to his other songs, though I'm know I'm in the minority in that opinion. Also, Oscar's first image song (the "I get on"/"I get off" one) just because Horiuchi is singing fairly badly in it - though they really didn't know what to do with the character songwise in those days. (Which reminds me that Oscar does have a "drippy, cliche crooning romance" side to his songs that I elided - "Zutto Hanasenai", "Ai to shika Yobenai".)
Maybe "Shiawase no Tapestry" for Lumiale, as his other image songs really are more classically pretty than sunny or poppy (duets & such excepted). But, hmmm, this is going on - and I'm out of answers. (That's probably more answers than for which we were hoping in a short reply, anyway.)
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Date: 2011-05-20 06:06 pm (UTC)fandramon has all the songs up for download. You should check it out. It's been a fave Sei-Lan song of mine going on 10 years now. :)
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Date: 2011-05-19 03:10 am (UTC)I think it'd be better if we knew how many songs each guardian has; I know the divine bird guardians have more than the holy beast ones, or at least the ones who were instructors before got more than the other new guys... and also those fun group and/or crossover songs...arg, confusing! @_@
I've recently uploaded more Angelique songs I have here: www.mediafire.com/?b3myh7gyt87cy
But I'm pretty sure I haven't caught them all yet ^^; Plus adding some live versions now too, so it's just the same songs again :B
Although I don't understand enough Japanese to follow along in the songs, I just go by the beat, so my answers might not be accurate anyways, lol XD
I agree with most of your comments though. But Charlie singing in nearly all of his songs is just obnoxiously annoying, and I don't think there's any nice way to put it XD
Speaking of obnoxiously annoying, Zephel's singing style fits that description too. Only with more Engrish, lol
Clavis' [original] seiyuu not being able to sing well sort of fit with his character, I thought it was amusing X3
I demand you go to my download links and listen to some chibi Mel. Now, do eeeet. So adorable *-*
I'm thinking when Julious and Leonard retire from their guardian duties they can open a bar lounge with a karaoke setup XD I think Julious', uh, Fraplish? Flench? Is sort of random o.O
Ernst is an awesome singer :3 Not biased, I swear ;>> He really puts his all into his songs, though I kind of get an angsty vibe from most of his songs o.O
Luva gets the cute, bouncy, catchy, stuck-in-your-head songs XD A couple of Mels songs do that too :B
...I do think I'm hopping around the actual proposed question, maybe I should get some sleep and come back to this XD
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Date: 2011-06-09 02:00 pm (UTC)Yeah, that comment screening is getting seriously irritating. Can the mods of a given group turn it off or something?
Besides AngeLYRIC, of course, there's this list (http://neoroma.info/songlist/angelique-songs), which actually does seem complete. Er, save for the Christmas special CDs and whatnot that've been released after the TV show, with songs from Ernst and scattered others. *sigh* I guess it's an impossible task, isn't it.
I appreciate the invitation for chibi Mel songs, and I would gladly take it if I weren't having audio problems with my comp at the moment. -_-;; (I don't have any audio at all, and judging from Googling, it appears to be a common problem with this model that no one can figure out.) I will happily listen once this gets straightened out, though, and I thank you for it.
(Speaking of downloading, I should ask you: have you ever encountered the remix versions of the early songs that were on the singles collections? I'm curious, and I don't think I've ever encountered the dang things.)
Heh, your Charlie comment reminds me of this comic they did in LLT to detail the recording session for one of the Instructors etc.'s first CDs. Everyone else is rather timid, or trying to figure out the equipment, and Charlie's seiyuu is just going "FUUUUURARETE EEEEEE YAN!!!" into the mic at the top of his lungs.
And you're totally right about Ernst - "puts his all into his songs" is the best way of putting it.
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Date: 2011-06-09 05:01 pm (UTC)Oooh, I know I've been there before, but forgot about it (had been using the names of the songs and threw them into google to see if anything would appear XD)
I've already seen songs there in that list that I don't have (or don't think I have, but might and just never knew what they were called XD)
I don't have any remix songs I don't think o.O Also, I now have that horribly annoying Zephel song "Shake it!" Stuck in my head...it's going to be a long afternoon -_-;
I hope you can figure out your sound issues! I hate when stuff like that happens x.x First things first, is your comp audio set to "mute"? are your speakers plugged in (to the comp and in some cases an outlet) and on? (Basic tech support skills in the house; apparently I only have then -_-) I think there's some fiddling with "add new hardware" and "device manager" you might have to go through, well if you're using a Microsoft os anyways o.O Well, good luck! ^^;
XD Charlie is just crazy though, rofl. The technology inconsistency effects most everyone :p
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Date: 2011-06-09 08:15 pm (UTC)Yeah, sadly, the sound issue isn't anything that can be fixed by dithering about with the drivers or reinstalling, apparently. There're issues with the CD drive & other stuff fading in and out of recognition, so it seems to be a hardware issue. (This is a temporary comp, anyway, so that just means I need to get my real system fixed all the sooner.) The attempt to help is much appreciated.
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Date: 2011-06-09 10:24 pm (UTC)I noticed that there's a Mel song there that I need to go hunting for now (well the name doesn't sound familiar), gotta catch 'em all! :p And just think, there will be even more songs once the other ange game comes out (but I guess it's more of a prequel thing? There is no Angelique in the game o.O)
Oh, that's lame, hope you can get to a more reliable comp soon; my comp likes to throw "no sound" fits sometimes, I find putting it on standby for a minute, then turning it back on helps. Though your comp sounds like it's been busted from the start, so eh x.x If a usb drive works you could put the music onto another mp3 playing device (I use my phone usually; who needs to actually *call* people on those things? :B)
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Date: 2011-05-20 02:00 am (UTC)Julious, *groan* why are your songs so cheesy? His Engrish and Flench(?) is so painfully cute though...sometimes. (I do agree, I was expecting some more cheesy French but Soleil Levant was a really pleasent surprise...
it's got a count of 168 on my iPod. >//<)I get the songs mostly for the tone of the singers, so I really enjoy Victor's, Ernst's and Olivie's. (I didn't mention Julious...because it's probably ovbious...)
I really enjoyed reading this! =)
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Date: 2011-06-09 02:50 pm (UTC)Y'know, the "hearing characters in other roles" issue must really make it hard at times. I don't really listen to songs from many other franchises and am kind of out of the loop of modern anime, so I haven't encountered the problem much. (The closest I've come is encountering Olivie's seiyuu voicing a protracted NSFW scenario on a drama CD I was not expecting to have NSFW scenarios. That was rather a jaw-dropper.)
I agree with you about "Soleil Levant" - I do think it's his best in-character song. (For best song, period, I'd go back and forth between that and "Byakuya," just because "Byakuya" is so over-the-top in tone.) I will say, though, that ever his loungier works nail the shining, golden-boy tone.
Thank you for the kind words! ^_^
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Date: 2011-06-13 10:59 am (UTC)Yeah, I get that. It took me a while to realise that it really was the same seiyuu singing those songs! Even these days, I find myself amazed that Tobita was Akabane and Lumiale, such polar-opposites!
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Date: 2011-07-07 03:10 pm (UTC)Lumiale: Most of his songs have a harp coming in sometimes, and all are peaceful, even his more upbeat songs. They're perfect for lullabies, I can listen to them to calm myself whenever I feel anxious.
Luva: Agreed about how they're the upbeat, makes-you-wanna-sing-along type. Even the angsty ones. (Those kind of make me glad I don't know what's being sung...)
Marcel: Also quite upbeat (most of them anyway), makes me want to get up and dance at times. What I love most is these songs always lift my spirits, as if Marcel is cheering me up.
Olivie: I want to get up on the dancefloor with him and dance to them! They're filled with that kind of energy that can be expected from him.
Sei-Lan: Hmm...you know, I've never thought about what makes his songs his, though I've noticed there is a particular style to all of them.
Mel: Whether the cutesy ones from his childhood or the energetic ones from his adulthood, they make Mel who he is! Honestly, I hear his songs and feel all squishy inside. (Not to mention, Kimi ga Ippai makes me wanna sing to the chorus!)